The exciting Fetival ever since 2003, it is OK Video held in Jakarta, organized by Ruang Rupa. The festival show various videoworks with thematic issue, and this year I saw JOAN JONAS* is join the exhibition!! cool!

* Joan Jonas is one of pioneers in video and performance artist from United States, one of the most important female artists to emerge in the late 1960s.

To
expand the networks and audience, OK. Video festival involves several
gallery and art spaces in Jakarta as the partners. With this
collaboration, the festival is trying to build the connection in
developing new media art in Indonesia as well as in international
domain. The festival is proposing diverse curatorial programs to the
galleries and alternative spaces such as Images Festival (Canada,
curated by Pablo De Ocampo), Obe...rhausen
Film Festival (Germany), Focus on Vincent Moon (France), and Focus on
Sebastian Diaz Morales (Argentina) as one of the emerging video artists
in Europe. To promote the Indonesian young video artists, amounts of
programs have been selected: 10 Years of Indonesian Video Art
Compilation, The New Generation of Indonesian Video Artists, 25
Inspiring Music Videos in Indonesia (2001-2011), and Focus on Indonesian
Young Video Artists: Henry Foundation, Reza Afisina, Wimo Ambala
Bayang.

Motion graphic is my way of thinking that I can share with other people. To create one is too feel. I feel happy and oddly peaceful whenever I create something out of nothing. Something that I can share. Something that moves, something that shines. With colors. Music. Sound. And feelings. Just like a dance, on a screen. - Isha Hening

For me, a straight line is something that can only exist in theory. This video is a documentary of the process I used to try to realize a straight line. I decided to go straight to Tokyo Zokei university from Aihara station. Inevitably, my efforts were compromised by many difficulties such as forests, mountains, etc

2.「Pastiche of a film 」 2010 video ９minsI made a pastiche of a scene from the film "One Flew Over The Cuckoo's Nest". I replaced real human relationship from on the script. I went to the small town Odate and played the role of the protagonist. In the story the character acts psychotic, so that he can go to a mental institution instead of a prison. The local people in Odate assumed the roles of the patients in the mental hospital. In the scene I shot, my character didn't have any lines and so I was not just a bystander in the context of the project, but also in the film's narrative itself.3.「Reproduction of a scene」 2011 video 6mins

This work copies a single scene from a TV drama that was uploaded on to a video sharing website. Users of the website can see the isolated scene without having to view the film in its entirety. Viewing the clip in this way can open up new readings of the film outside of its original intended form. Using websites like Amazon, it's possible for people to interpret or construct the story of a book simply reading a review of it. For this work, I reproduced a scene from a TV drama without watching the whole film. By reproducing the scene in my own way, a different version of the same narrative emerged.

Kazuya statement;

The ideals we have are often limited by a combination of different factors such as place, time, money, law, morals etc, resulting in a different reality from the one we initially envision. That these factors also impact upon one's artistic practice is inevitable. However, rather than take that as a negative thing, I think it can alter my practice in a way that could be seen as positive.

That is to say, whilst trying to simultaneously conceal the disparity that exists between the ideal and the reality, it is also possible to hope for the resulting disparity. This may seem paradoxical, but it can also be seen as an approach that compromises without avoiding the roles we play. For me, if both the positions of the 'programmer' (establishing an ideal) and the 'player' (realizing an ideal) were to be carried out simulatenously (the programmer creates a goal and the player obediently work towards it, or rather the programmer constructs a goal in response to the player's demands), I wonder if it would become a type of charade. In order to avoid that, the programmer would presents goals that were made in response to the player. Similarly the player should voice his objections, or rather, an 'arena' where a new proposal can be put forward is necessary.

I have no intention at all to deny the contradictions within my position/approach. Rather, I want to find an arena where the contradictions can be preserved.

On 7" program this month is a video from Indrani Ashe. Embryo Garden is a final work of Indrani Ashe in 2006 when she studied in Wake Forest University, Winston Salem. The installation work is in USA at the moment, so the video screening is more like a video documentation of the installation work of Embryo Garden and people can see the detail of Indrani's past work while she exhibiting her collaboration work with Arum Sekar Prameshwari in s.14 using textile and its experiments. (http://ruangdepans14.blogspot.com)

You can see this video documentation from 23 August - 23 September 2010 at s.14 library, enjoy!

His work in this regard serves autobiographically to tell the artist's personal story of a subject whose cultural horizons are cosmopolitan, and who over time has experienced a process of separation from certain cultural horizons.

For example, Krisna suggests that his position to the Wayang Wong is one of an outsider, exoticizing what was once part of his cultural and social horizons, but from which he has become estranged. On the other hand, he emphasizes the discomfort of such exoticization by conciously taking up the position of the exotic object.

Pushing this role, in his Empty Theater (video theater) the artist turns himself into artifact, visually recorded in a way that mimics photographic genres associated with scientific methods of collecting, recording and organization in anthropological documentation, methods of museumization that were brough to bear during the colonial era and perpetuated by the government after independence. (Amanda K. Rath, US/Germany)